Thank you Andy. I am currently on a small vacation, with my thirteen year old son, in the high Alps. It is a big challenge for both of us. Gare and the team will have to wait for our return home (for a few days, think).Well, that, and the picture is very good. Elegant impressionistic approach, but I do not know whose. Perhaps yours?Regards, V.

Tilbury became a formal member of AMM in 1982, having sat in with the ensemble many times over the preceding 15 years. Rowe’s long-standing definition of AMM was Prevost, himself and at least one other. Gare was one of the original members going back to 1965. Hence the oddity of this performance being billed under a different name, presumably to indicate a different, i.e. non-AMM, musical aesthetic.

@glmlr,Since the late seventies Lou Gare has continued playing in groups with Prévost, drummer Fred Burwood and pianist Sam Richards, re-joined AMM briefly and toured with Prévost and Rowe as the MASTERS OF DISORIENTATION in 1990, but performed seldom and made all too few musical trips away from the South West of England where he has lived since 1977.

@ Vitko Yes, thanks, I’m aware of the history. Just after this performance, Gare played with AMM in the “Nameless Uncarved Block” performance of April 1990 officially released on Matchless 13. What puzzles me is the distinction between an AMM performance and an MoD performance. What’s the difference between the two?? Why the change of designation??

Thanks for all of these - this one on particular though I've had some trouble with downloading & converting. Anyone else? If someone is up to it, posting this as MP3 would be welcome. Thanks again all.

Thanks Andy for this fascinating piece of the AMM puzzle. Like others, I wonder why this doesn't get the 'AMM' stamp, since Tilbury was a relatively late arrival in a group that had long included Rowe, Prevost and Lou Gare. There were even official releases with duos of Prevost/Gare and Rowe/Gare that were billed as AMM ('Live at the Roundhouse', 'It was an ordinary enough day ... ')

Very excited to hear this as I've only recent become smitten with the aforementioned 'Nameless Uncarved Block' release on Matchless. It's one thing to try to square Tilbury's seemingly oblivious tinkling at the ivories with Rowe's transistor radios and Prevost's bowed whale noises; adding in Gare's distant tenor playing in a firmly Coltrane/Rollins style adds yet another layer to the stylistic delirium. The unique thing about the AMM enterprise was how such disparate strands are somehow fused into something that one always REMEMBERS as being somewhat monolithic and unified (until one hears it again!)